Without hearing the instrument, no, not really.
If you could post the stop-list, together with the following information: wind pressures, layout and positions of each division, acoustic properties of the building, the type of action, the compasses of the pedal and manual claviers (and those of the soundboards, if different), the name of the builder and a brief description of critical stops (for example, the G.O. diapason chorus) - possibly even something like 'G.O. Diapason is fat and dull-sounding and the rest of the chorus lacks brightness.'
Without at least this, any suggestions are likely to be meaningless.
However, if you can provide much more information along the lines I have suggested above (together with an idea of the tonal house-style of the organ builder), it might be possible to make a few points - although these will still likely be inspired guesswork. Perhaps something like (if these stops are present) ' try the G.O. 16ft. Bourdon, Principal, Fifteenth and Mixture up an octave, instead of using the large Diapasons.' However, as you may begin to see, apart from the fact that one would need a lot more information about the instrument and the building, without actually being there and hearing and playing it, anything offered here would be little better than guesswork.
One only has to play a few instruments before it becomes apparent that even those with a strong tonal house style can differ widely in effect, through other influences such as position, acoustics, the type of action, wind pressures. all these things and more can affect the way an organ sounds - even one with a supposedly 'standard' stop-list from a well-known organ builder.